\ 


THE  ORIGIN  AND  DEVELOPMENT  OF  THE  DANCE  SUITE 


By 


MARY  EDNA  PHELPS 


THESIS 


FOR  THE 

DEGREE  OF  BACHELOR  OF  MUSIC 


IN 

MUSIC 


SCHOOL  OF  MUSIC 
UNIVERSITY  OF  ILLINOIS 


1921 


Digitized  by  the  Internet  Archive 
in  2016 


https://archive.org/details/origindevelopmenOOphel 


INDEX 


Title  page 

PP  1 

History  and  origin  of  the  Suite 

PP  2 - 

11 

Analysis  and  description  of  some  of 
the  dances  used  in  the  suite. 

PP  12 

- 20 

List  of  dances  by  later  composers 

PP  21 

List  of  suites  classified  alphabetically 

pp  22 

- 30 

bibliography 

PP-  31 

I • ■ B ■ ■ Ip  I 


(1) 


I 


THE  ORIGIN  & DEVELOPMENT  OP  THE  SUITE. 


The  suite,  the  earliest  of  cyclic  groups,  was  a series 
of  old  dance  tune3 , usually  beginning  with  a prelude  and  often- 
times finishing  with  an  air  with  variations.  This  latter  move- 
ment consisted  of  a melody  being  given  first  in  its  simplest 
and  plainest  possible  fashion  and  then  repeated  several  times, 
each  repetition  introducing  some  variation  of  rhythm  or  melody. 
Perhaps  the  most  notable  example  of  a conclusion  such  as  this 
is  the  air  known  as  "The  Harmonious  Blacksmith"  which  f ini  shies 
one  of  Handels  suites. 

Other  definitions  which  have  been  given  are  "A  suite 
is  a prelude  in  addition  to  a set  of  dance  tunes  making  a popu- 
lar appeal  by  the  familiarity  of  established  dance  rhythms," 
and  "The  suite  is  a form  of  instrumental  composition  probably 
originating  during  the  latter  part  of  the  middle  ages  in  a 
custom  of  town  bands  of  stringing  together  a series  of  contrast- 
ing tunes  with  the  only  bond  of  similarity,  uniformity  of  key." 

Generally  speaking  the  earliest  suites  were  supposed 
to  have  been  written  in  Prance  about  1650,  but  in  strictness 
the  early  compositions  of  Dr.  John  Bull,  Orlando  Gibbons,  and 
Wm.  Bytd  found  in  the  Parthenia  of  a still  earlier  period,  are 
also  suites.  Besides  the  Parthenia  other  earlier  sources  are 
Morley *3  "Plain  and  Easy  Introduction  to  Practical  Music," 
printed  in  1597  and  Queen  Elizabeth* s 'Virginal  Book".  Morley 
suggested  the  contrasting  of  the  pavan  and  galliard  and  an 
example  of  each  is  taken  from  the  Morley  collection  written  by 
Vm  Byrd,  Spitta  in  his  "Life  of  Bach"  mentions  the  same  con- 


. 


.c: 


(2) 


trast  as  popular  in  Germany  a little  later  and  refers  to  the 
publication  of  thirty  Paduans  & Galliards  by  Johann  Ghro  of 
Dresden  in  1604.  In  just  such  a manner  originated  the  idea  of 
joining  different  dance  tunes  together  to  make  an  artistic 
balance  and  contrast  and  of  establishing  the  first  secular  instru- 
mental cyclic  art  form.  The  period  between  the  latter  half  of 
the  16th  century  and  the  beginning  of  the  18th  century  may  be 
considered  the  early  period  of  the  suite.  It  falls  directly 
under  the  head  of  dance  music  and  until  very  recent  developments 
wa3  essentially  based  on  the  folk  dance.  During  this  period 
the  most  conspicuous  feature  of  universal  instrumental  music 
is  the  profusion  of  dance  tunes  — Every  country  had  its  character- 
istic dances  and  thruout  Europe  the  people  still  maintain  their 
national  dances  which  are  characteristic  of  the  races  to  which 
they  belong. 

The  statement  that  the  classical  world  has  literally 
danced  into  its  classical  forms  of  music  is  perhaps  more  correct 
than  may  seem  at  first  glance.  Indirectly  the  dance  has  influ- 
enced all  forms  of  music  early  or  mo dern** because  of  this  in- 
fluence some  brief  consideration  of  the  development  of  the  dance 
here  is  permissible.  Prom  the  very  beginning  the  dance  was  a 
visible  expression  of  rhythm.  Many  dances  have  strayed  down 
through  the  ages  in  the  form  of  children’s  game.  Por  example, 
in  "Little  Sally  Waters "as  children  play,  one  is  observing  a 
survival  of  the  worship  of  an  ancient  Egyptian . God. 

Or  if  for  a more  familiar  example  we  hear  "London 
Bridge  is  Palling  Down"  it  is  a very  modern  setting  of  the 
satirical  song  aimed  at  "Peter  of  Cole  Church"  who  was  building 


* . 


♦ 


jjj 


' 


(3) 

the  bridge  in  1205. 

Hj*iy  Away,  Lady  Lug"  carries  us  to  the  dreadful  confla- 
grations of  the  b0  years  war  in  Pomerania  --  Of  a different 
character  from  these  but  an  example,  nevertheless,  is  that  of 
the  old  choral  dances  of  the  Christians  which  fell  into  dis- 
credit and  were  condemned  by  St.  Augustine  and  other  fathers  of 
the  Church  who  thought  promiscuous  dancing  resulted  in  great  sin. 
Sellinger’s  Round,  a 16th  century  tune  and  round  dance,  of  unknown 
authorship  is  also  an  example. 


o 

/ / / _ 1 / / /i  / 111 III  ; |\/  1 , L 

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o 

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It  is  very  hard  and  in  many  ca,ses  impossible  for 

want  of  materials,  to  trace  fully  the  process  of  this  selection. 

Very  early  the  Pavans  and  Galliaids  dropped  out  of  fashion  and 

the  Allemandes  and  Courantes  came  in  around  which,  a.s  a sort  of 

neucleus  the  other  dances  of  the  suite  were  grouped  . When  the 

principle  of  grouping  movements  together  was  once  accepted, 

tne  speculations  of  composers  in  that  line  seem  to  have  been 

only  limited  by  their  knowledge  of  dance  forms.  It  was  only 

through  experimentation  that  the  most  satisfactory  successions 
were  discovered  and  thus  many  of  the  earlier  suites  c on  t.ai  n -a 


. 


, 


‘ * 


■ 


greater  profusion  of  variety  than  is  found  in  those  of  the 
maturer  period.  Let  us  take  Purcell's  suites  for  instance, 
which  date  from  the  last  ten  or  twenty  years  of  the  17th  century. 
.Besides  the  Allemandes  and  Courantes,  which  occupy  the  same 
position  as  in  the  suites  of  nach  & Handel,  one  group  also  com- 
prises a saraband,  cebelle,  minuet,  a Kigandooh  an  Intrade  and 
a inarch,  while  another  contains  a trumpet  tune  and  a chacone 
and  still  another  a hornpipe.  Curiously  enough  the  jig  is 
almost  omitted  in  the  earlier  suites,  which  in  the  mature  suite 
form  was  the  only  one  admitted  of  English  origin. 

The  opening  with  a Prelude  is  almost  invariable  and 
this  is  not  astonishing,  since  this  kind  of  movement  (which  can 
hardly  be  described  as  a form)  was  asfamiliar  as  the  dances 
from  having  been  so  often  attempted  by  the  early  instrumental 
composers  such  as  byrd,  Orlando,  Gibbons,  Hull  and  Plow  among 
Englishmen. 

It  is  very  interesting  to  note  how,  in  the  various 
countries  the  suite  was  developed  along  different  lines  and 
used  for  different  purposes,  even  tho  the  general  form  was  uni- 
versal. Take  the  matter  of  titles,  for  example.  Ji'or  a long 
time  these  groups  had  no  uniform  distinctive  title.  In  England 
they  were  generally  called  Lessons  & continued  to  be  so  called 
till  after  Handels  time.  In  Italy,  similar  groups  were  called 
"sonate  de  Camera”.  In  Germany  Partitas  and  in  Prance  they 
were  at  fir  t called  Ordres.  Thus  the  actual  suite  existed 
universally  for  some  time  before  the  term  suite,  the  name  by 
which  it  is  now  known,  came  into  general  use.  The  composers  of 
different  countries  illustrated  in  different  degrees  the  ten- 
dency toward  consolidation  which  is  inevitable  in  an  art  form. 


. 

9 


- 


. 


very  early  showed  many  proofs  of  appreciation  of  its  principles; 
for  instance,  a suite  of  Lulli  in  E.  Minor  has  the  complete  series 
of  allemande,  saraband,  courante,  minuet  and  gigue.  A little 
later,  however,  theatrical  influence  seems  to  have  come  into  play 
and  Remeau  and  Couperin,  tho  in  many  cases  adopting  the  same 
neucleus  to  start  with,  added  to  it  a profusion  of  randeaus  and 
other  short  movements  caused  by  various  eccentric  names.  In  one 
of  Couperino  Ordres  there  are  at  least  twenty-three  little  pieces 
and  in  such  a case  it  is  clear  that  a sense  of  form  or  complete 
balance  in  the  whole  can  hardly  have  been  even  attempted.  Tho 
the  movements  are  strung  together  in  the  same  key  according  to  the 
recognized  rule,  yet  they  seem  to  be  in  character  a series  of 
agreeable  ballet  pieces  and  the  titles  point  to  their  belonging 
to  quite  a different  order  of  art  form  from  that  illustrated  by 
the  suite  in  its  maturity.  In  fact  there  is  so  little  in  common 
that  their  kinship  must  be  attributed  mainly  to  the  relation  of 
feoth  to  programme  music.  Eor  example  in  the  tenth  order  of  uoupein 
the  first  number  is  called  "La  Triomphante"  and  also  "Lruir  de 
Guerre".  In  the  11th  order  a series  of  pieces  represents  a battle, 
the  title  of  one  being  "Les  Invalides"  in  which  the  right  hand 
is  made  to  represent  the  dislocated  joints  of  the  wounded  and 
the  left  the  limping,  halting  gait  of  others.!  The  final  piece 
is  entitled  "Disordre  and  de’ route  de  toute  la  troupe"  Such 
extreme  cases,  however,  were  the  exception  rather  than  the  rule 
but  they  show  how  the  suite  form  was  exaggerated. 


fastly  set  in  the  direction  of  the  purer  art  form  and  the  pre- 
valence of  uniformity  in  their  distribution  of  movements  soon 
became  remarkable.  Many  examples  of  the  form  have  come  down  and 


In  Germany,  composers  kept  their  faces  more  stead- 


they  are  remarkably  regular 


e example  is  very  interesting 


because  of  its  uniqueness,  that  of  a complete  suite  out  of  varia- 
tions on  the  choral  "Auf  meinem  lieben  Gott"  in  the  form  of  a 
Saraband  courante,  and  gigue,  by  the  famous  organist  Buxtehude. 
The  universal  arrangement  of  so  many  of  the  suites  establish  the 
fact  that  by  the  beginning  of  the  18th  century  certain  definite 
principles  of  grouping  the  movements  were  generally  known  and 
accepted  and  that  a neucleus,  consisting  of  alleraande,  courante, 
sarabande  and  gigue  had  become  the  accepted  type  of  the  art  form. 
It  was  chiefly  thru  Germans  that  the  suite  form  was  developed  in 
its  austerest  simplicity;  and  in  that  condition  and  inrelation 
to  their  keyed  instruments  it  seems  that  the  usual  group  is  the 
most  satisfactory  that  has  been  devised. 

The  suite  in  its  finest  end  most  consistently  complete 

o \ 

form  is  perhaps  illustrated  in  Bach's  suites  Anglaese,  which  must 
be  regarded  as  the  culminating  point  of  the  suite  as  an  art 
form.  I shall  attempt  to  briefly  outline  the  suite  as  used  by 
Bach  and  also  Handel  to  some  extent  with  particular  reference  to 
technical  details.  The  uniformity  of  key  is  almost  universal, 
only  a very  few  exceptions  having  been  found.  Consequently, 
the  contrast  is  purely  one  of  character  between  the  several  move- 
ments; and  this  is  further  emphasized  by  the  absence  of  any 
marked  contrast  of  key  or  subject  in  themovements  themselves. 

They  are  almost  invariably  constructed  upon  the  simple  principle 
of  balanced  halves  each  representing  the  same  material  in  dif- 
ferent phases  and  each  strengthened  by  repetition.  The  first 
half  sets  out  from  the  tonic  key  and  without  any  marked  pause  or 
division,  usually  modulates  so  as  to  settle  into  the  key  of  the 
dominant  in  which  key  it  closes.  The  second  half  begins  afresh 


4 I y 


; 


i 

. 

* 


■ 


- 


(8) 


from  that  point  and  proceeding  in  most  cases  by  way  of  the  key 
of  the  subdominant  and  settles  well  back  again  into  the  original 
key  and  concludes.  The  two  halves  are  made  purposely  to  balance 
one  another  as  far  as  may  be,  without  definite  recapitulation. 

In  a few  intermezzi  exceptions  have  been  found  where  the  second 
half  is  somewhat  extended  to  admit  of  a little  development  and 
free  modulation,  but  the  general  principles  in  the  average  num- 
ber of  cases  are  the  same,  namely  to  diffuse  the  character  of 
the  principal  figures  and  features  throughout  rather  than  to  con- 
centrate the  interest  of  the  subject  in  definite  parts  of  the 
movement.  In  order,  however,  to  strengthen  the  effect  of  balance 
between  the  two  halves,  certain  rhythmic  and  melodic  devices  are 
common  and  characteristic  with  regard  to  the  beginning  and 
endings  of  each  half,  there  frequently  being  a clear  relation 
between  the  opening  bars  of  each  half;  also  the  ends  of  each 
half  correspond  very  closely  particularly  in  allemands,  courantes 
and  gigues.  Thus  much  of  form  applies,  more  or  less  to  all  the 
movements  which  are  based  on  dance  rhythms  or  developed  on  that 
principle  but  in  addition  each  of  the  movements  has  also  severally 
distinct  characteristics , upon  which  the  form  of  the  suite  as 
an  art  form  is  mainly  based.  In  the  severest  simplicity  of  the 
form  the  allemande  comes  first  — this  movement  consists  mainly 
of  moderately  slow  4/4  time  with  regular  smooth  motion  and  its 
character  has  been  generally  regarded  as  appropriately  quiet  and 
sober. 

To  this  the  courante,  the  movement  which  usually  fol- 
lows is  supposed  to  supply  a contrast,  but  it  cannot  be  maintained 
that  it  always  does  so  successfully.  Thereis,  however,  a slight 


(9) 

touch  of  uneasiness  about  the  courante  which  leads  directly  into 
the  slow  dignified  Sarabande.  In  the  latter  movement  the 
rhythmic  principle  is  very  pronounced  tho  simple,  the  strong 
emphasis  coming  on  the  second  beat  of  a bar  of  3/4  in  slow  time. 
This  is  an  obvious  source  of  contrast  with  both  the  preceding 
members  of  the  suite  since  in  neither  the  Allemande  nor  the 
courante  is  there  any  such  pronounced  and  persistent  rhythm. 

In  addition  to  this  rhythmic  contrast  there  is  also 
a harmonic  or  structural  contrast.  In  the  first  two  members 
there  is  considerable  free  motion  of  parts,  not  to  be  described 
as  initation  but  rather  that  of  free  figuration  of  two  or  three 
voices , giving  in  general  a contrapuntal  effect  to  the  whole. 

In  the  sarabande  the  peculiar  rhythmic  character  puts 
both  systematic  imitation  and  regular  contrapuntal  motion 
equally  out  of  the  question.  Consequently  as  a rule  a more 
decidedly  harmonic  style  is  used  --  the  chords  are  fuller  and 
move  more  simultaneously  as  blocks  of  harmony.  The  general 
effect  of  the  sarabande  is  noble  and  serious  and  the  music  is 
more  concentrated  than  in  any  other  member  of  the  group  of  move- 
ments. It  is  thus  in  various  respects  the  central  point  of 
the  suite  in  position,  in  musical  interest  and  unique  quality 
and  in  the  fact  that  the  preceding  movements  generally  tend  to 
solidity  and  the  succeeding  movements  to  lightness  and  gaiety. 

In  the  strictest  forms  of  the  suite  the  gigue  follows  the  Sara 
bande  immediately. 

In  most  cases,  however,  composers  took  the  liberty 
to  interpolate  other  movements  among  which  the  gavottes,  , bour- 
rees,  minuets  and  Passepieds  were  the  most  familiar.  These  move- 
ments evidently  were  to  strengthen  th^blalance  on  either  side  of 

— — - — — ■ ■ - — - — X 


■ 


(10) 

sarabande  both  in  quality  and  amount.  The  gigue  which  concludes 
the  series  is  theoretically  and  in  most  cases  actually  of  light 
and  rapid  style.  The  old  fancy  for  concluding  a work  with  a 
fugue  is  illustrated  by  the  common  occurrence  of  fugal  treatment 
in  this  member  alone  of  the  regular  group  of  the  true  suite 
series.  The  method  commonly  used  was  to  begin  and  carry  out  a 
free  sort  of  fugue  in  the  first  half,  concluding  like  the 
other  movements  in  the  dominant  key  and  to  take  up  the  same  sub- 
ject freely  or  by  contrary  motion  in  the  second  half  with  regular 
answer  as  in  a fresh  fugetta  and  carry  it  out  on  that  basis  with 
the  usual  direction  of  modulation  concluding  in  the  original  key. 

In  addition  to  this  regular  series  or  sort  of  neucleus 
a Prelude  was  composed.  It  appears  in  a variety  of  forms,  one 
being  that  of  frequent  arpeggios  as  in  the  Prelude  of  the  Holberg 
suite,  and  under  a great  variety  of  names.  The  chief  point  which 
is  most  obvious  in  relation  to  the  other  movements  is  that  their 
characteristic  form  of  nearly  equal  halves  is  systematically 
avoided;  in  fact  any  other  form  seems  to  have  been  taken  in  pre- 
ference. The  effect  seems  to  be  to  add  breadth  and  stability  to 
the  group  and  the  contrast  with  the  rest  of  the  movements  is  in 
every  respect  unmistakable.  In  the  matter  of  actual  distribution 
of  movements  there  are  a great  many  variations.  Perhaps  the 
most  conspicious  ones  are  to  be  found  in  Bach’s  works,  commonly 
known  today  as  His  Orchestral  Suites.  As  a matter  of  fact, 
however,  it  is  said  that  Bach  himself  called  then  overtures  and 
that  the  name  suites  were  added  by  some  one  else  afterwards. 

Many  of  Handels  suites  illustrate  conspicuous  departure  from 
the  usual  order.  The  modern  tendency  as  shown  in  the  suites 
for  orchestra  piano  forte,  cello  and  violin  by  Lachner,  Raff, 

- - 1 


. ■II  . 


(11) 

St.  Saens,  Tschaikowsky  and  others  is  to  break  away  from  any 
definite  pattern--  often  times  modem  suites  have  no  suggestion 
of  dance,  rhythms,  but  the  term  is  applied  to  any  group  of  com- 
positions in  anyway  musically  related. 

In  conclusion  it  remains  to  classify  the  suite  as  an 
art  form,  musically.  It  was  the  first  instrumental  form  in 
which  several  movements  were  combined  into  a complete  whole.  It 
was  the  first  in  which  the  ecclesiastical  infuence  which  had 
been  so  powerful  in  all  high  class  music  were  completely  sup- 
planted by  a secular  type  of  equaly  high  artistic  value. 

Lastly  it  was  the  highest  representative  instrumental 
form  of  the  contrapuntal  period,  as  the  sonata  is  the  highest 
of  the  harmonic  period  and  the  results  attained  from  its  develop- 
ment are  remarkable  and  valuable  in  a high  degree. 


- 


(12) 


The  old  dances  were  of  the  greatest  possible  importance 
to  the  progress  of  instrumental  music  for  they  brought  life, 
grace  and  rhythmical  beauty  into  it. 

Each  dance  hah  its  characteristic  rhythm  and  conveyed 
its  characteristic  musical  mood,  due  in  most  cases,  to  its 
origin  and  historical  seating.  Some  of  the  dances  which  were 
used  in  the  ear!J.y  suites,  are  very  old  and  have  become  obsolete 
but  for  the  most  part  we  find  those  of  the  Mediaeval  times 
used  most  frequently.  In  the  case  of  some  of  these  dances  it 
is  very  difficult  to  give  an  accurate  description  of  them  but 
the  student  listens  much  more  intelligently  to  the  contrasted 
numbers  of  the  suite  when  he  knows  something  of  the  origin 
and  history  of  each. 

The  following  descriptions  are  of  the  dances  most 
frequently  used  in  the  mature  suite  and  in  the  order  they 
usually  appeared  - the  prelude,  allemande,  courante,  sarabande, 
gavotte  and  gigue.  The  remaining  ones  are  of  dances  used  less 
frequently  or  in  a much  earlier  period  than  that  of  -Bach  or 
Handel . 

The  Prelude,  as  the  name  implies,  usually  preceded  the 
dance  numbers  of  the  suite  and  altho  considered  an  essential 
part  of  it,  conformed  to  no  particular  pattern  or  rhythm  and 
served  merely  as  an  introduction  to  the  whole  suite. 

The  Allemande  usually  followed  the  Prelude  and 
almost  always  stood  before  the  courante.  It  is  of  German 
origin  as  the  name  implies.  Besides  the  Allemande  of  the 
suite  there  is  an  entirely  diff erentkind  in  two  four  time  which 
is  danced  by  the  peasants  of  Swabia  and  Switzerland.  The 


$ '■£«  id  jj'  6i- j>J<  i 

. 

* 


■ 


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■ 


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characteristics  of  the  suite  movement  are  earnestness  of  ex- 
pression and  a moderately  quick  movement.  It  is  meant  to  convey 
the  feeling  of  contentment  and  quiet  cheerfulness.  It  ought 
to  possess  a very  rich  harmony* 


-rHt, 

?/  rr  U 

1 . 

i 

/ J 1 J . I 

The  courante  (corrente)  is  either  French  or  Italian 
origin.  In  the  French  it  comes  from  the  verb  "courir"  and 
in  the  Italian  "correre"  meaning  "to  run"  in  both  cases. 

Mattheson,  contemporary  of  Handel,  describes  it  in 
the  following  manner:  "Tempo  moderately  rapid  and  dotted  rhythm 
are  frequent."  The  Hach  and  Handel  courantes  are  written  either 
in  3/2  or  3/4  time  and  frequently  there  are  doubles  or  varia- 
tions added.  The  Italian  courante  is  more  rapid  usually  in 
3/8  or  3/4  time. 


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[ 


The  Sarabande  was  originally  a lively  Spanish  dance 
in  which  castanets  were  used.  It  was  quite  in  contrast 
with  the  form  it  took  on  later  when  transferred  to  Italy.  As 


< 


: t wrj,[  Tr,';:  j 


(14) 

used  in  the  suite,  particularly  those  of  Hach  and  Handel  it 
takes  the  typical  Italian  form,  that  of  a very  stately,  earnest 
and  solemn  dance . Shakespeare  alludes  to  a Sarabande  in  "Much 
Ado  About  nothing"  as  "a  measure  full  of  state  and  ancientry." 
It  is  often  called  the  central  body  of  the  suite  as  it  is  the 
one  slow,  stately  movement  round  which  the  quicker  movements, 
the  Prelude  allemande , and  the  courante  on  the  one  side,  and 
the  gavotte  and  gigue  on  the  other  - revolve. 


The  Gr&vo-tte , (sometimes  written  Cfavot)  very  closely 
resembles  the  Hourra®.  Phis  dance  isof  French  origin  and  takes 
its  name  from  the  Gavot3  or  "gap  - men"  inhabitants  of  the 
town  of  Gap  in  the  "Haute  - Alpes",  who  danced  it.  Unlike  most 
of  the  other  dances  of  that  period  it  was  seldom  used  as  a 
social  dance,  but  served  mainly  for  theatrical  purposes.  Matthe- 
son  says  "The  expression  of  the  gavotte  should  be  that  of  a 
jubilant  joy;  the  ’jumping"  and  by  no  means  the  'running' 
movement  is  a particular  feature  of  it".  Frequently  a 
musetta  or  a ba,g  pipe  tune  was  added  to  the  gavotle  the  peculiar- 
ly of  this  movement  being  the  holding  over  of  the  fundamental 
bass  as  a sort  of  organ  point  throughout  the  entire  composition. 
This  gives  an  imitation  of  the  quaint,  monotonous  effect  of 
the  bag  pipe.  The  gavotte,  aside  from  its  place  in  the  suite, 


■*.-i  r. 


(15) 

attained  universal  popularity  as  a solo  particularly  for  piano 
and  violin. 


/> 

— 1 jy  ' r*  — ^ 

£ — f f 

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— ^ -j- 

J 

The  Gigue,  according  to  one  authority  was  formerly 
the  dance  tune  used  during  the  performance  of  the  rope  dancers; 
and  tho  interesting  as  this  information,  is,  it  is  probably  based 
on  imagination  rather  than  actual  fact.  The  gigue  proper  falls 
into  four  different  classes,  (1)  the  English,  (2)  the  Spanish, 
called  Loure's,  (5)  the  Canaries, and  (4)  the  "Italiangiga" . 

The  Spanish  jigs  or  loures  are  rather  slow,  dignified 
and  pompous.  The  canaries  are  full  of  life  and  bustle,  but 
ought  to  have  somewhat  of  a simple  even  childish  expression. 

The  Italian  giga  is  that  used  by  Handel  and  sometimes  al30  by 
Bach.  This  form  has  retained  a certain  influence  on  modern 
music  for  example,  in  the  last  movement  of  Beethoven’s  Kreutzer 
sonata.  The  English  jig  is  the  one  generally  used  by  Bach  as 
in  his  English  and  Jb’rench  suites.  The  following  quotation  from 
the  liageli  "Lectures”  gives  us  some  idea  as  to  the  use  and  struc- 
ture of  the  gigue  in  the  suite,  "The  suite  with  all  its  dance 
tunes  required  also  an  artistically  worked  out  piece  of  more 
solid  construction,  something  like  the  fugue.  Like  the  pre- 
ceding dance  movements  of  the  suite,  it  was  divided  into  two 
parts  of  equal  length,  as  to  key  rotationship  the  first  part 
usually  closed  on  the  dominant;  otherwise,  almost  all  the 


(16) 

devices  followed  out  in  the  fugue  were  used  in  the  gigue,  and  a 
favorable  result  was  gained;  a lively  piece  with  a solid  construc- 
tion, resembling  a dance  movement,  yet  possesing  also  a deeper 
musical  interest  as  to  form" . At  present  the  name  of  jig  is  given 
to  any  dance  music  of  a lively,  droll  and  grotesque  expression, 
for  example  some  of  the  arrangements  of  Percy  Grainger  of  old 
country,  clog  dances. 


L i T1 Li  T / fc  rV" 7 / 1 J n -1 

—1 

t?  -■  ?.  1 - - 

~L 

j.  ✓ - - 

. ••  ' • * 

JL 

1 i s + 

^ ^ 

^ ^ > . 

Various  dances  were  contrasted  in  the  suite,  the  ones 
above  making  up  the  usual  formation  in  the  regular  order,  but 
others  were  constantly  heing  used  particularly  in  the  partitas 
or  the  French  development  of  the  suite  and  the  sonata  da  camera 
or  the  Italian  development. 


> 


(17) 

The  i*ourr£e  is  of  Spanish  origin  and  takes  its  nature 
from  the  Basque  Provinces  in  Spain  where  it  is  called  the  norea. 
Matheson  describes  it  as  having  "a  cheerful  and  merry  character, 
more  fluent,  smooth,  sliding  and  connected  than  the  gavotte  , 

The  peculiarity  of  the  bomaree  is  a certain  jovial  and  pleasant 
expression  coupled  with  an  air  of  hax^py,  carelessness,  easy  tho 
not  vulgar  movement."  It  is  always  in  2/4  or  4/4  time  and  may 
be  set  to  the  dactylic  metre,  that  is  a long  and  two  short  notes. 
In  England  the  bourie  is  represented  by  the  popular  hornpipe  or 
the  sailor’s  dance  for  example. 


The  Pavan,  according  to  the  Old  English  Encyclopedia 
is  a "very  grave  stately  dance,  common  among  the  Spaniards." 

The  formation  was  a kind  of  wheel  described  by  two  sets  of  dances. 
The  gentlemen  danced  it  with  cap  and  sword,  princes  in  their 
state  robes  and  the  ladies  witji  long  trains,  their  movements 
resembling  the  stately  step  of  the  peacock  in  Italian  called 
"pavane"  . 

The  Galliard  is  coupled  with  the  pavan  as  a contrast- 
ing dance  in  the  very  earliest  traces  of  the  suite.  In  the 
Italian  language,  "gagliarda"  and  also  the  Erench  "gaillard" 
the  word  means  merry,  jolly,  free,  cheerful,  fresh  and  healthy 
and  thus  indicating  the  nature  of  the  dance  or  rather  what 


(18) 

moods  it  expresses.  Little  is  known  of  either  the  pavan  or 
galliard  since  both  very  early  become  obsolete. 

The  rigandon,  called  in  English  " rigadoon" , is  an  old 
rrench  dance,  taking  its  name  from  its  inventor,  the  French  danc- 
ing master,  Kigaud.  It  was  the  custom  to  sing  an  accompaniment 
to  it  when  first  introduced.  It  is  always  written  in  four- four 
time  and  the  character  is  merry,  and  cheerful.  Grieg  included 
a rigandon  in  his  Holberg  Suite. 


=z~ , * £*rLf-'  ' i 

r " rr  . 

/ 

-r — — 3 — e lj — , . — r, — ! — . L l. 

1 / / 1 ’ K _ * - • 

- 

— — — - — — < — i^-rn  1 i — h — 

; T T T ] r--  1 ■ 

u 

11 1 * — — 1 

1 ' 7— /-/  - • 

The  Passepied,  when  introduced  into  the  suite,  takes  the  pla.ce 
of  the  gavotte  as  bourree;  that  is,  it  comes  between  the 
sarabande  and  the  gigue.  It  is  purely  English  in  origin,  formerly 
being  the  dance  of  the  -breton  sailors.  It  is  usually  in  3/8  or 
3/4  time  and  generally  alternates  with  a second  passage  of  the 
samelength.  If  the  first  is  in  the  minor  key  the  second  is 
written  in  the  major  key  and  vice  versa.  The  expression  is 
that  of  merriment  and  liveliness  or  as  Mattheson  expresses  it, 


. 


(19) 

"The  character  of  the  passepied  indicates  an  approach 
to  negligence;  a negligence  expressive  not  of  ill  humour  and 
caprice  hut  of  good  nature  and  joviality."  One  of  the  most  con- 
spicuous examples  appears  in  -Debussey'  sn±Jergamasque  Suite". 

The  chaconne  is  probably  Italian  in  origin  though 
different  writers  disagree  as  to  where  it  was  first  performed.  It 
is  always  in  3/4  time  and  has  a very  sedate  motion.  Almost  in- 
variably for  four  or  eight  bars  there  appears  a melody  with  partic- 
ularly well  marked  rhythm  in  the  bass,  while  in  the  upper  part 
are  variations  in  the  form  of  couplets.  In  England  it  was  called 
the  chacon  and  was  danced  like  the  sarabande.  The  most  celebrated 
chaconnes  are  those  of  Pach,  Couperin  and  Handel. 

The  Passacaglis,  in  .French  "passec aille"  has  its 
equivalent  in  the  German  !i Halim entrapp"  has  its  equivalent  in  the 
German  "Hahnentrapp"  meaning  the  trotting  of  the  cock  on  the 
"rooster- step" , probably  suggested  by  the  manner  in  which  it  was 
performed.  Like  the  chaconne  it  has  as  a characteristic  feature  the 

A* 

melody  usually  written  in  the  bass  with  variation  or  couplets  in 
the  upper  part.  Various  writers  differ  in  their  opinion  as  to 
the  quicker  or  slower  time  of  the  passacaglio. 

The  minuet,  tho  very  rarely  found  in  the  suite  has  been 
so  unconditionally employed  in  the  other  cyclical  form,  the  sonata, 
that  it  should  be  described  here.  It  is  said  to  have  originally 
come  from  the  French  province  of  Poiton.  It  is  distinguished  for 
its  graceful,  noble  and  dignified  expression  and  its  prevailing 
character  was  oneof  moderate  cheerfulness.  It  was  especially  the 
dance  of  the  nobility  and  every  ball  was  opened  with  it.  To 
afford  variety  a second  contrasting  part  called  the  trio  was  usually 
added,  so  called  because  the  latter  was  written  for  three  parts 


: 


. 

. 

. 


„ 


(20) 

instead  of  two.  It  is  particularly  interesting  to  note  the 
changes  the  minuet  underwent  in  the  hands  of  various  composers. 
When  Beethoven  made  use  of  it  a very  aristocratic  and  dignified 
expression  prevailed;  in  Hayden's  hands  it  took  on  still  another 
character;  he  imparted  to  it  a popular  tone,  a.  simple  jovial 
fanner  without  lowering  it  musically;  and,  Mozart  understood  how 
to  imbue  it  with  a more  refined  wit  and  an  artistic  character. 

The  minuet  must  therefore  be  recognized  as  one  of 
the  principal  and  most  important  dances  among  those  which  in 
a great  degree  influenced  instrumental  music. 


■ 


The  following  dances, 

written  in  the  style  of  those 

used  in  the  suite  are  classified 

alphabe  tic  ally . 

Alexeyev,  K. 

(Minuet 

Bach,  J . S . 

(Bourree  in  A minor 
(Gavotte  in  d " 
(Sarabande 

Bargiel 

(Trois  danses  Allemandes  Op. 24 

Boellman,  L. 

( Gavotte 

Bourgault , 

( De  uxi erne  gavotte 
(Minuet,  Op  3 

Brotistet,  E. 

(Passepied 

( Cowen,  F.  H. 

(Four  English  dances  in  the 
(olden  style. 

(Minuet  - d*  amour 

Darimant 

(Minuet  Op.  12 

German,  E, 

(Bourree 
( Gi gue 

Godard,  B.  L.  P. 

(Gavotte,  Op.  16 
(Minuet  Pompadour,  Op  119 

Langer,  C. 

(Gavotte  d*  amour 

Massenet,  J.  E.  F. 

(Sarabande  Espagnole 

Rheinberger,  J.  G. 

(Passao  aglia,  Op.  132b. 

Saint  Saens,  C.  0. 

(Gavotte  in  d minor  Op. 23 
(Sarabande  & Rigaudon,  Op. 93 

Tcherepnin,  N . 

( Gavotte 

Vander  Stucken,  F. 

(Rigandon,  Op.  25 

Westerhout,  3ST.  Van 

(Minuet  & musette 

Wo  miser,  A.  A.  T. 

(Gigue,  Op.  12 

(1) 


The  following  list  of  suites  is  arranged  aplhabe  tic  ally : 


Albeniz,  I. 
Suite 


(1860  - 1909) 
for  Orchestra 


Arensky,  A.  S.  (1861  - 1906) 

Suite  for  orchestra  based  on  a Russian  theme. 
Suite  du  ballet  - "Huit  d’Egypte" . 


Bach,  J.  S.  (1685  - 1750) 

Overture  and  Suite  in  d minor 
English  suites 
French  suites 

Suite  for  orchestra  in  C major 
Suite  in  d minor  for  orchestra. 

Bantock,  G-.  (1868  --  ) 

English  Secnes  in  Suite  form 
Old  English  Suite 

Bird,  Arthur,  (1856  --  ) 

Three  small  suites  for  orchestra 

Bizet,  G . (1838  - 1875) 

Small  suite,  "Children  at  Play". 
"L*  Arlesienne" 

"Roma"  suite  for  orchestra 

Bloch,  Josef,  (1862  --  ) 


Suite 

for  orchestra  Op. 

6 

it 

ii  it 

ii 

10 

ii 

idyll ique 

Op . 

35 

Borodin,  A. 

P.  (1834  - 

1887) 

Petite  Suite 


Bossi,  Enrico  (1361  --  ) 

Suite  for  orchestra,  Op.  126. 

Brink,  Jules,  (1833  - 1889) 

Suite  for  full  orchestra 

Brockway,  H.  A.  (1870  --  ) 

Sylvan  Suite  for  orchestra,  Op.  19 

Broustet,  Edouard,  (1836  — ) 

"Suite  d’orchestre"  Op.  65 

Bruch,  Max,  (1838  --  ) 

Suite  for  orchestra  based  on  Russian  folk  melodies, 

Brull,  Ignaz,  (1846  - 1907) 

Danse  Suite  of  ballet  music,  Op.  54. 

Busser,  Henri  Paul,  (1872  --  ) 

"Suite  funambulesque , " Qp  . 20  


* 


(2) 


C on  t ' d . 


Suite  "breve  , Op.  26 
Petite  Suite  for  orchestra 

Bunning,  Herbert,  (1863  - ) 

“Village  Suite"  Op.  45 

Busoni,  F.  (1866  --  ) 

Symphonische  Suite  for  orchestra,  Op.  25 
"Zweite  Orcho3tersuite" . Op.  34A 

Casella,  Alfredo 

Suite  in  C major  for  orchestra,  Op.  13 

Chabrier,  A.  13.  (1841  - 1894) 

Suite  pastorale  pour  orchestre 

Chadwick,  George  ¥.  (1854  --  ) 

Suite  of  four  symrjhonic  sketches 
Symphonic  sketches  --  suite  for  orchestra 

Chaminade,  Cecile,  (1861  — ) 

"Callirhoe"  - Suite  d’orchestre 

Chopin,  Frederick,  (1810  - 1849) 

Suite  for  orchestra 

"Chopiniana"  Suite  for  full  orchestra. 

Co^ien,  Joseph  W. 

Polish  suite  in  A minor  for  orchestra 

Cowan,  Frederic,  (1852  ) 

A suite  of  Old  English  dances. 

Cui,  Cesar,  (1855  ) 

Suite  miniature  for  piano,  Op.  20 

Suite  for  violin  with  orchestral  accompaniment  0p.2E 
Deuxieme,  suite  for  orchestra,  Op.  38 
Quatrieme  " " " " 40 

Debussy,  Claude,  (1862  - 1918) 

Suite  for  orchestra  “Children’s  Comer," 

Deldevez,  Edward,  (1817  - 1897) 

Suite  de  ballet  for  orchestra  Op.  27 

Delibes,  Clement,  (1836  - 1891) 

"Sylvia"  ballet  in  suite  form 
Six  aris  in  the  old  dance  style. 

Dubois,  Francois  Clement  (1837  --  ) 

“Ballet  d'l’ opera"  suite  for  orchestra 
"Suite  Villageoise"  for  orchestra. 


(3) 

Dvorak,  Antonin,  (1841  - 1904) 

Suite  for  orchestra,  Op.  39 

Elgar,  Sir  edward,  (1857  --  ) 

Suite,  "Music  of  a Child’s  Play".  Op.  lb 

Erb,  Maria  Josejjh,  (1860  --  ) 

Suite  in  d minor  for  orchestra,  Op.  29 

Esser,  Heinrich,  (1818  - 1872) 

Suite  for  orchestra,  Op.  70 

ii  m ii  "75 

Faure,  Gabriel  (1845  --  ) 

"Pelleas  et  Melisande"  - suite  for  orchestra  Op. 80 

Fischer,  Karl  August  (1828  - 1892) 

Two  orchestral  suites 

Forster,  Christoph  (1693  - 1745) 

Suite  in  G major  for  two  violins,  viola  and  violon 
c ello 

Foote,  Arthur  (1853  --  ) 

Suites  for  orchestra,  Op.  36  and  63 

F ranch,  Richard 

Suite  for  orchestra,  Op.  30 

Ganne,  Louis  (1862  - ) 

Illys  - Byzantine  Suite  for  orchestra 

Garcin,  Jules,  (1830  - 1896) 

Suite  symphon i que , Op.  25 

Gendt,  Willem  Merkes  van 

Suite  for  orchestra,  Op.  55 

German,  Edward  (1862  --  ) 

Gipsy  suite  for  piano 
Suite  for  flute  and  piano 

Gazounov,  Alexandre,  (1865  — ) 

"Suite  c arac t eri stique"  Op.  9 
"Chopiniana"  Suite  for  orchestra  Op.  46 
Scenes  de  ballet  for  orchestra  Op.  52 
"Moyen  - age"  Suite  for  orchestra  Op.  79 

Grieg,  Edward  H.  (1843  - 1907) 

"Aus  Holberg's  Zeit"  Op.  40 

Zweite  orchesterui te  from  the  music  of  Peer  Gynt 
suite. 

Grimm,  Julius  (1827  - 1903) 

Suite  in  canon  form  for  strings.  Op.  10 


— — — 

Hamerik,  Asger,  (1843  — ) 

"Uordische  Suite,  Op.  22 

Herbert,  Victor,  (1859  — ) 

"Suite  romantique",  Op.  31 

Humperdinck,  E.  (1854  --  ) 

Suite  based  on  Shakespeares 1 "Tempest". 

Ilysnky,  Alexander,  (1859  --  ) 

Suite  for  orchestra,  Op.  4 

"Houre  and  Anitra"  --  suits  for  two  pianos,  and 
four  hands. 

Ivanov,  Ippolitov,  M.  M. 

Suite  for  orchestra,  Op.  10 

Suite  Orientale  for  orchestra,  Op.  20 

Joachim,  Albert,  (1831  - 1907  ) 

Suite  Ho.  2 Op.  50 

Kienzl,  Wilhelm,  (1857  --  ) 

Three  suites  in  dance  form,  Op.  21 
Abendstimmungen,  Op.  53 

Kohler,  Oscar 

Suite  for  orchestra,  d minor. 

Korestchenko , A.  H.  (1870  --  ) 

"Suite  Armenienne"  Op.  20 

Lachner,  F. 

Seven  suites  for  full  orchestra 

Lacome,  Paul  Jean,  (1838  --  ) 

Suite  ancienne  for  orchestra 

Lully,  Jean  ±5.  (1632  - 1687) 

Suite  for  orchestra  from  "Roland" 

MacDowell,  Edward,  (1861  - 1908) 

Suite  for  full  orchestra,  Op.  42 

Two  Indian  suites  for  orchestra,  Op.  48 

Mackenzie,  Sir  Alexander  (1847  --  ) 

Suite  dramatique  from  "Coriolanus" 

Suite  for  violin  with  orchestra  accompaniment. 

Marti,  Esterban 

"Hu it  napolitaine"  for  orchestra 

Massenet,  Jules,  (1842  — ) 

Cigale  - suite  for  orchestra 

Suite  for  orchestra  in  fugue  style,  Op.  13 


(5) 

Moszkowski,  Moritz,  (1854  — ) 

First  suite  for  orchestra,  Op.  39 
Suites  " " " 47  and  79 

Nicode,  Jean  Louis,  (1853  --  ) 

Symphonische  Suite,  Op.  17 

P almgren , Selim 

"Aus  Finlaud”  based  on  Finnish  airs,  Op.  24 

Pares,  Gabriel,  (1860  --  ) 

"Suite  Provencale" 

Purcell,  Henry,  (1659  1695} 

Suite  in  C major,  for  the  harpsichord 

Raff,  Joseph  Joachim,  (1822  ~~  1882) 

Suite,  Introduction  and  fugue,  Op.  101 

Suite  for  violin  with  orchestral  accompaniment , Op .130 

Suite  in  old  style,  Op.  200 

"Itatienische"  suite  for  orchestra 

Rebikov,  Vladimir,  (1866  --  ) 

Two  suites  for  orchestra 
Suites  for  orchestra  Op.  21 

Reed,  W.  H. 

Suite  venitienne  for  orchestra 

Reznicik,  Emil  Nicolaus,  (1861  --  ) 

Symphonische  suite  for  orchestra 

Rimsky,  Korsakov,  (1844  - 1908) 

Suite  Symphonique  in  E major 

"Pan  Voyevoda"  suite  for  orchestra,  Op.  59 

Roger,  Ducasse, 

Suite  for  piano,  four  hands 
French  suite  in  d major 

Ropartz,  J.  Guy,  (1864  --  ) 

Premiere  suite  d’orchestre,  Op.  24 

Rubenstein,  Anton,  (1829  - 1894) 

"El  Dachtarawan" , Suite  Op.  93 
Suite  for  piano,  Op.  119 

Saint,  Saens,  Charles  C.  (1335  --  ) 

Suite  for  orchestra,  Op.  49 
Suite  Algerienne,  Op.  60 

Salvayre,  Gervais,  (1847  --  ) 

Suite  Espagnole  for  orchestra 
" Or ien tales  for  piano 


t 

. 


. 


t 


' 


— Tel 

Schofer,  Dirk 

Suite  Pastorale,  Op.  8 

Scharwenka,  Philipp,  (1847  --  ) 

Serenade  for  orchestra,  Op.  19 
Arkadische,  suite  for  orchestra,  Op.  76 

Schumann,  Georg  (1866  --  ) 

Carnival  Scenes  - suite  for  orchestra,  Op.  22 

Sibelius,  Jean,  (1865  --  ) 

"Karelia"-  suite  Op. 11 
Suite  for  orchestra,  Op.  27 
"Pelleas  and  Melisande"  , Op.  46 

Sokolov , Nikolai , (1859  --  ) 

Suite  from  "Les  cygnessauvages . " Op.  40 

Stojowski,  Sigismund,  (1870  — ) 

Suite  for  full  orchestra 

Strauss,  R.  (1864  — ) 

Suite  in  B major,  Op.  4 

Tschaikowsky , Peter,  I . ( 1840  - 1893) 

Suite  Ho.  2 C arac teristique  Op.  53 
" Ho.  3 " Op.  55 

Wieniawski,  Joseph,  (1837  - 1910) 

Suite  romantique,  Op.  41 

Youf eroff , 

Suite  de  ballet  for  orchestra,  Op.  49 


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